Larsen Thompson wore an asymmetrical ochre bodycon dress and boots to the H&M x e.l.f immersive experience in Berlin on January 28, 2026.
At the H&M × e.l.f immersive event in Berlin on January 28, Larsen Thompson delivered a look that knew exactly what kind of lighting it was stepping into. The setting was bright blue walls, branding bold and flat—but her dress brought all the grounding.
She wore a body-hugging, ankle-length ochre gown with a matte, sculptural finish. One long sleeve. The other shoulder bare. But even that exposed strap wasn’t tossed off—it wrapped her upper arm in a loop, like a design choice made with a pencil, not a Pinterest board. Her statuesque frame gave the silhouette extra resonance; it didn’t move around her—it anchored her.
The texture of the fabric stayed close to her body the entire way down—no train, no flare, no drama—but the proportions kept it quietly commanding. On her feet: dark chocolate pointed boots peeking from under the hem. Not dainty. Solid. They gave the look weight.
She wore a stack of gold bangles on her right wrist, worn confidently, not for sparkle, just punctuation. Her hair? Long. Flowing. Loose, brushed waves down one side, balancing the exposed shoulder. Makeup leaned minimal. Liner low-key. Lips soft. No statement earrings, no clutch, no excess.
Kendall Jenner wore a bold orange and black Chanel Pre-Fall 2026 dress for her Tonight Show appearance on January 28, 2026.
Fresh from her guest appearance on The Tonight Show with Jimmy Fallon, Kendall Jenner posed for cameras in a look that felt like couture Halloween distilled into tiger-glam formality. The silhouette remained classic. The details? Maximal.
Her bodycon dress was straight off the Chanel Pre-Fall 2026 runway—a form-fitting, sleeveless column covered in orange circular paillettes, each one textured and puffed to resemble tiny reflective gummies. Overlaid diagonally are black sequin stripes arranged in chevron and tigerline patterns, down to the shins. It’s loud, playful, unapologetic.
The hem curls slightly, with a scalloped finish that reintroduces some softness to a dress that otherwise reads like armor—one lined with frosting. The neckline mirrors the hem in texture: tweaked, puckered, a little undone. No jewelry visible. Nothing extra needed.
She completed the look with pointed Chanel black patent leather cap-toe slingback pumps , polished and predictable. Same goes for the compact black Chanel clutch , worn with a leather strap on the shoulder. Hair: sleek, parted, and shiny. Skin: smooth, slightly dewy. Brows? As calm and symmetrical as the dress is chaotic.
Dakota Fanning wore an oversized blue shirt with wide-leg navy pants and The Row Margaux bag in Hollywood on January 28, 2026.
Spotted on the move in Hollywood on January 28, Dakota Fanning looked like someone who had five minutes to get dressed—and made every one of them count. The look isn’t styled. It’s inhabited. That fine line where sloppy becomes stylish? She walks it in flats.
She wears an oversized baby-blue button-down shirt—pinstriped, rumpled, unapologetically wrinkled. The collar pops crookedly, and the fabric blouses around her as if it hadn’t been ironed all week (probably hadn’t, looks great). The sleeves balloon out slightly, cuffs undone, half-swallowed by her hands. It’s a familiar shirt—could be vintage, could be borrowed, doesn’t matter. It feels instinctual.
On the bottom: navy wide-leg trousers, dragging slightly at the hem. The fabric moves soft—no press lines, no hard creases, just that casual, deep-drape weight that suggests comfort over photography. She carries a rich caramel-brown top-handle bag—visually confirmed as The Row’s Margaux —which adds the one note of structure in the whole look. And sunglasses: oversized, amber-gradient lenses with thick arms, thrown on with a subtle “don’t ask anything right now” energy.
Shoes are hard to see, but the vibe is flats or soft soles—something functional, something quiet. Hair hanging natural, no styling, no gloss. Just sun, shirt, and shadow.
